Gaston Solnicki plays himself in this cinematic tribute to his friend Hans Hurch.

A portrait of Argentine director Gastón Solnicki's family over the course of the second half of the 20th century, Papirosen follows four generations still troubled by a war that’s never spoken of. The film juxtaposes different periods with their native image formats, along with landscapes, characters and international political events, as it focuses on a singular decade of a nouveau riche Argentine Jewish family, and the new generation’s introduction into familiar traumas and vitality.

Santa Fe - notes, 2017 - 2019 is a story made up of fragments of landscapes, buildings, voices and objects. It is a film built on the relationship between art and the colony, memory and threat, native peoples and silence.

Vienna, 2019 – the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she’s talking to a brick wall. Moreover, she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.

A one-minute short made for BAFICI (Buenos Aires International Festival of Independent Cinema)

A one-minute short made for BAFICI (Buenos Aires International Festival of Independent Cinema)

Vienna, 2019 – the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she’s talking to a brick wall. Moreover, she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

Vienna, 2019 – the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she’s talking to a brick wall. Moreover, she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.

An unconventional portrayal of several young women witnessed in immersive yet indeterminate states: within their bodies, among their friends and lovers, and ultimately in a culture of economic and spiritual recession. Obliquely inspired by Bela Bartok’s sole opera, Bluebeard’s Castle.